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Museums

GUNNAR BIRKERTS, 1925-2017 Latvian-born architect Gunnar Birkerts, designer of the stainless-steel-clad Contemporary Arts Museum that’s stood at the northwest corner of Montrose Blvd. and Bissonnet St. since 1972, passed away yesterday at the age of 92. Birkerts moved to Michigan in 1949 after graduating from architecture school in Germany; he later worked in the office of Eero Saarinen and set up his own architectural practice in Birmingham, a Detroit suburb. The exterior of the CAMH was altered to its current appearance in 1997 after a design by Houston architect Bill Stern. [Chicago Tribune; more here] Photo: CAMH

From the skies above Montrose Blvd. just north of Bissonnet, here’s a view from late last week of progress on the Museum of Fine Arts Houston’s new Glassell School of Art. The new building, designed by Steven Holl Architects, is under construction across the street from the Glassell Junior School building (in the foreground, with the curved roof) — and on the same site where the original Glassell School, designed by Houston architect S.I. Morris, was demolished in 2015. Morris’s Glassell School featured exterior walls of glass block; the primary exterior materials of Holl’s replacement building are sandblasted panels of precast concrete, assembled to shape an inclined plane along the long edge of the building’s L shape.

If that part of the building is starting to look like it’ll form a giant ramp, it’s because it will: Models of the structure show an outdoor amphitheater at the ramp’s base; a rooftop public path will ascend beyond it to a sculpture garden on the roof of the building’s northern leg. An addition to the existing sculpture garden to the south will extend into the courtyard shaped by the building’s two wings, fronting Montrose Blvd. The space designated for the garden is filled with construction materials in the center of the photo above; it’s pictured in a more completed state in this rendering by the architect:

YOU WON’T HAVE THE MENIL COLLECTION TO KICK AROUND FOR MOST OF NEXT YEAR Are you one of those architecturally sensitive types who has long suspected that the worn, squishy pine floorboards of Renzo Piano’s Menil Collection building were meant to serve as some sort of metaphor for the tenuous and uncertain nature of Houston’s oft-muddy groundplane? (Plus, they’ve got those underfloor AC registers interrupting it every few yards.) Well, good for you! — but tough luck: Beginning late next February, reports Molly Glentzer, the building will close for 8 months so that those well-worn floors can be refinished. Why should the job take so long? “The staff will continue to operate as usual from the upstairs offices, but some gallery walls will have to be dismantled and the collections shifted through the building during the sanding and finishing process.” Come November 2018, will the experience of walking through the museum be just as exquisitely unstable as it is now? Maybe not: “The leveling mechanisms under the wooden air-conditioning grills in the floor are also being upgraded,” Glentzer warns. Hurry and visit now, while it’s all still worn and creaky! [Houston Chronicle] Video of Sosie Merritt stomping on Menil floors, 2009: Brandon & Kristen Merritt [license]

Construction started yesterday on the Nancy and Rich Kinder Building, going up in the Museum of Fine Arts Houston’s former parking lot north of Bissonnet St. at Main. That’s the curvy-roofed structure itself visible in the rendering above — the drawing shows the expected view of the building from the rooftop garden of the already-under-construction nearby replacement for the formerly glass-covered Glassell School (whose underground parking garage opened up when the surface lot closed last week). Both of the new buildings were designed by Steven Holl Architects — here’s where they fall on the map, along some of the other big changes in the works for the Museum’s campus:

The back third of the Menil-owned Richmont Square Apartments has now been cleared away. Left to dispose of: a below-grade swimming pool in the middle of the lot, plus a garage apartment behind the DaCamera building at 1427 Branard St., next door to the Menil’s Cy Twombly gallery. Swamplot reader and artist Bob Russell takes a break from creating his own satellite-imagery-inspired drawings to send in the above quick ground-level panorama of the sketchy spot where Johnston Marklee’s low-slung $40 million Menil Drawing Institute will be mapped out and filled in.

TILDA GOES FULL MENIL From the looks of this W magazine fashion shoot with photographer Tim Walker, glacial space oddity Tilda Swinton managed to gaze upon and or fondle every objet d’art John and Dominique de Menil brought to Houston, be those treasures stashed away in their River Oaks home or on display in the Montrose museum. At the latter, while wafting through the South Seas galleries in a full-length Del Pozo coat, Swinton was in the mood to coo, ah and ooh. “They presumed art to be good for human dignity,” Swinton says of the de Menils to William Middleton, W correspondent and author of an upcoming biography on the arts patrons. “There is a practical magic that shows itself in the exquisite simplicity of each installation; there is nothing to get in the way of a direct relationship between the viewer and a work of art.” (With unfortunate results, in one high-profile recent case.) Swinton also donned “a painted metal corset by the London designer Johanna O’Hagan, a pair of black boots by Versace, and little else” in order to recreate Retour de la Belle Jardinière, Max Ernst’s 1967 reincarnation of his own La Belle Jardinière, a 1923 Surrealist near-nude that was later condemned as “degenerate art” by the Nazis and presumably destroyed. (The first Jardinière was itself Ernst’s reworking of a Raphael Madonna-and-Child painting by the same name.) The de Menils purchased Retour, thus affording Swinton and Walker the chance to shoot a retour of a retour of a retour of la Belle Jardinière. “This is the special magic of these collaborations,” Swinton tells Middleton, still clad in her skimpy Jardinière regalia. “There is not just a vague referencing of de Menil but also an immersion into her world. We’re crossing into a no-man’s-land between history and imagination, in an attempt to evoke her spirit, and the spirit of the world she inhabited.” [W ] Photo: Tim Walker / W magazine.

THE MENIL COLLECTION GETS ITS RAP TRIBUTE In advance of their exhibition and performances next month at the Art League of Houston, where they’ll recreate 5 performances by the Art Guys, “while adding a twist that could only come from Black Guys,” artists and musicians Robert Hodge and Philip Pyle II released what appears to be the first-ever song about Houston’s Menil Collection — or at least the first one available on the iTunes Music Store (where it costs 99 cents, but you can preview a short segment for free). And over on Glasstire, Bill Davenport has helped out the auditorially challenged by transcribing (most of) the entertaining and insider-y rap-style lyrics, including the catchy chorus (“Riding by Menil slow, you don’t need no cash flow, we the only negroes, Hodge and Phil”). Sadly, no accompanying video has been released, but a note on the website of Everything Records indicates an album entitled presenting . . . The Black Guys is forthcoming. A solo show of Hodge’s paintings opened last Friday at the CAMH. [Glasstire; Everything Records] Cover art: The Black Guys

SNIFFING OUT THE SUBTLE SECRETS OF THE ROTHKO CHAPEL Exploring the Menil’s quiet, deep-purple monument, the Chronicle‘s Leah Binkovitz turns up a couple new lines of investigation: “In a turn Rothko, with his proscriptions for proper viewing, could never have anticipated, the chapel has its own Yelp page. ‘Whatever, some people don’t like to think too much about life and what our place is and if you’re one of those people, this isn’t the place for you,’ writes Eric J. in his recent review, ‘You need to head on down to Moody Gardens for “Pirates” or whatever.’ Inside, there’s a collection of Rothko paintings — dark and turbid — that surround the viewer. When the sun sifting through the clerestory shifts, the purple panels shine like scars. People meditate on cushions on the ground or lean against each other on the benches. The occasional crinkle of a plastic bag breaks the silence. There’s a smell, a specific Rothko Chapel smell. That’s the first thing two dashing young men in khaki shorts comment on when they leave the chapel.” [Houston Chronicle] Photo: Ed Uthman [license; cropped]

A HOUSTON BICYCLE MUSEUM ARRIVES IN THE MUSEUM DISTRICT The latest institution to roll into Houston’s Museum District is the Houston Bicycle Museum, which just leased the former bank building at 1313 Binz St. (shown at left) from the Holocaust Museum Houston, and is hoping volunteers will help it clean up the space and install exhibits. The structure is meant to house the organization’s collection of antique and classic bikes and related memorabilia. The Houston Bicycle Museum, run by Daniel Boone Cycles owner Joy Boone, has been fundraising to build a permanent home for itself near the corner of Crawford and Calumet streets — a few blocks away. Its new temporary location is one block south of the Holocaust museum and across Binz St. from the parking lot in front of the Park Plaza Hospital MRI facility. Photo: Houston Bicycle Museum

Chiming in with this morning’s Demo Report, which more formally announces the departure of a couple of old single-story buildings at 607 and 609 Chenevert St., reader Jack Miller sends in this photo of the scene yesterday a couple blocks north of the George R. Brown Convention Center and immediately south of Minute Maid Park. At the far left, an excavator is seen assuring that the former Houston Professional Musicians’ Association and Houston Precious Metals buildings from 1949 will indeed get out of the way in time for the Nau Center for Texas Cultural Heritage to be built on the site.

Is this yet another story of older Houston buildings making way for the new? Maybe, but at a larger scale, it’s partly the reverse: Two houses from 1904 and 1905 were moved onto a portion of Avenida de Las Americas glommed onto the site 3 years ago, on a spot across Texas Ave. from the ball park (behind and to the left of the camera). And the photo below includes a glimpse (on the far right) of the 1919 Southern Pacific 982 steam engine scooted out of the houses’ way and settled in along the light-rail line on Capitol St.:

Whatever the original plans were for the partial demolition of the gray-painted 1940 bungalow that sat across the street from the Menil Collection and across the footpath to the West Alabama St. parking lot from the Menil Bookstore, they appear to have been exceeded. A reader sends in these photos of the construction site at 1512 Sul Ross St.; they show that the woodframe structure intended for “adaptive reuse” into a new Bistro Menil according to a design by Stern and Bucek Architects has been removed entirely.

The Menil had announced plans for the bungalow-to-bistro conversion at that spot last October, in concert with an upgrade of the parking-lot path into a “new campus gateway” designed by landscape firm Michael Van Valkenburgh Associates. “In keeping with the emphasis on sustainability that is a keynote of the landscape design,” read a Menil press release, “the Menil’s café is designed by Stern and Bucek through the adaptive reuse of one of the bungalows that define the character of the Menil’s campus.” The press release also noted that the Menil’s architect, Renzo Piano, had originally proposed putting a café in this exact location. Since named (via a contest) Bistro Menil, the arts institution’s first eating spot is set to be run by Café Annie, Taco Milagro, and Café Express alum Greg Martin.

The few interior photos included in the listing of William F. Stern’s house at the corner of Milford and Mt. Vernon show the 1990 structure stripped of most of its furnishings — but with much of its famed artwork still on the walls. Are those paintings museum-quality, though? Certifiably, it turns out: Stern, who passed away a year ago from pancreatic cancer, willed the house and its artwork to the Menil Collection. The Menil is accepting all the art into its collection, but put the house on the market last month — with an asking price of $1.475 million.

Online arts publication Glasstire is reporting that Rice University’s public-affairs office has confirmed plans to demolish the University’s most famous metal-sided structure. Known since the mid-1980s as the School of Continuing Studies Speros P. Martel Building, the southern half of the 45-year-old duo was dubbed the “Art Barn,” and was originally home to the Rice Museum, a predecessor to the Menil Collection.

John and Dominique de Menil paid for the construction of both corrugated buildings in 1969, and selected the architects, Howard Barnstone and Eugene Aubry. The structures were created to house Rice’s art and art history departments, along with the de Menils’ Institute for the Arts, which the couple moved from the University of St. Thomas after a dispute with that institution. The de Menils later left Rice to start their own little Menil Collection in Montrose. The simple, unassuming design of the structures they left behind became the inspiration and model for a series of “Tin Houses” —Galvalume-clad homes designed by Houston architects primarily in the West End and Rice Military area.